Animated 3d Feature Film Production Schedule (Page 3 of 10) in pdf

Page 3 of 10

finished scenes – assembled from those assets in the Layout department and then passed through the successive stages of

Animation, EFX, Lighting & Compositing.

Post-production in animation encompasses many of the same tasks as are found in live-action production, although the general

absence of live-action photography means that many of these tasks are more tightly integrated with production, to the benefit of

an organic filmmaking process. In fact, as the lines between “animated” films and “live-action” films continue to blur, we have

seen more live-action filmmakers employ production paradigms familiar to animation producers and directors.

Naturally, there are semantic variations from production to production. In the schedule above, development is presumed to have

taken place as a run-up to the initial screenplay draft. While the development phase may include some storyboarding and

design in part, the pre-production phase is understood to encompass storyboarding and design in whole. However, some

producers may choose to categorize this activity in its entirety as development. Likewise, asset creation (CG models, rigs,

shaders, etc…) which are categorized as production in the schedule above will sometimes be classified as pre-production

activity. Regardless of the terminology employed, it is crucial that everyone on the film has a common understanding of what

needs to be done and uses a shared nomenclature within the production environment (especially when the production

environment may be leveraged across multiple studios in an outsourcing situation).

Regarding the order of these phases, we are accustomed to thinking of pre-production, production and post-production

sequentially, with one phase ending before the other begins. The reality of feature animation filmmaking is that these phases are

conceptual and non-linear: practical realities necessitate that “pre-production” activities such as storyboarding and design may

continue at some level well into the production cycle (especially in response to audience test screenings), and it is also

recommended to begin some “post-production” work as early as possible (especially where the workreel is concerned). These

realities are reflected in the schedule above.

TEST SCREENINGS

This animated feature production schedule includes three test screenings: one after the first 5 months, another mid-way through

production, and a third with a few months to go before release. It is in the independent animation producer’s direct interest to

obtain objective feedback from neutral audiences comprised of the film’s target demographic (which for animated feature films is

usually the broad “family” demo). Screenings for family & friends, cast & crew and investors & distributors can provide useful

feedback, but by themselves are not enough: the unfinished film must be taken out of the garage for a “test drive”, with

production leadership present in the audience to assess the “squirm factor” firsthand (the level of emotional engagement or

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